The intention is to introduce you to the people who have been carving their own path...with no care for what anybody thinks.

We try not to post things that are still for sale but sometimes post things that are not easily available. If you like what you hear, then find these people and tell them how great they are.

Better still, tell them and then seek out their new releases and buy them. We add links, when they are reliable and active, so that you can keep track if you so wish.

Always go straight to the artist or the label where possible. That way, the money goes straight to the people responsible for this art. These people rely on our support to keep going and make more quality releases!

Please feel free to leave comments as you go along...at least then we know you appreciate this stuff (or otherwise) and you're not just a bunch of freeloading file collectors.

If you made this music and we have pissed you off by posting any of this, please leave a comment in the post and the offending articles will be removed.

We interrupt this steady stream of American Tapes muck for a brief palette cleanser. Here's some stomp box roar from the mean streets of Dayton, Ohio. Being's "Battery Cages II" is the 2nd part of a trilogy, but, much like "The Empire Strikes Back" and "The Wrath of Kahn", it holds up well enough on its own. You can figure out what happened to get us to this point. Edition of 50 tapes released by Skeleton Dust in 2007.

Looped hypnotic beats and electronic fear that wouldn't sound at all out of place being played out tomorrow at a Blackest Ever Black Berlin night out. Future proofed excellence from Aaron, John and Nate.

First album of raw, but quite lovely, slow-motion improv by the Michigan quintet who would go on to call themselves The Cases and issue several cassettes on Fag Tapes. Clarinet, harmonium, tape loops, creaking chairs and piercing whistles seem to have been used, but it's hard to tell because of the hiss-forward, live-direct-to-boom-box non-fidelity that coats every gesture in a healthy layer of freshly baked mud. Band members include Dan Ackroyd, Gilda Radner... oh wait, I'm sorry, that's not right. I meant Heath Moerland (Sick Llama, Slither), Mike Connelly (Failing Lights, Clay Rendering, Hair Police, ex-Wolf Eyes), Anthony Miller (Crib Death, Mini-Systems), Candace Williams and Kye Potter. This was released a numbered edition of 25 cassettes by American Tapes in 2005.

Live improvised radio broadcast that starts with a 60's psych-rock vibe before turning into synth-suspense via tribal electronics. My youngest cat is always really interested when this one comes out to play. Kato says yes!

CDr released on American Tapes in 2002 in a huge edition of fifty copies. ‎It's AM244 btw.

An untitled Wolf Eyes c90 from September 2010, released in an edition of just 12 copies on American Tapes adorned with John Olson's typically brilliant collage art. If you read this blog (and I'm going to guess that you do) you already know that this mystery murk needs to be playing on a constant loop at your home, in your car, and over some sort of public address system at your place of employment.

Lathe-cut 12" and CDR set of ugly burl by the mighty Wolf Eyes, released in an edition of 30 copies on (where else?) American Tapes in 2004. Because the record has multiple holes and no play speed specified, I included different versions of the rip. The CDR is extremely brief, but I don't suppose that matters.

This starts off as though it was recorded way down the corridor from the slaughterhouse. It quietly morphs into something recorded in the bowels of the Nostromo. The fact that I find this particularly hallucinatory might tell you more about the poor quality of the drugs that I have taken in my time ... but, I really recommend this one.

This starts off with slow motion helicopter blades which chop up HAY by the Butthole Surfers (from Locust Abortion Technician) and gets more twisted from there. Yeah, I know. The Ensemble is the work of Dirk Vercruyssen (and I don't know of anything else that he did).

This great C30 was released on Dutch label Opus Dei Society (probably) in 1987. Opus was a sublabel of Korm Plastics which is run by Frans de Waard ... and now it all makes sense.

This starts with drone harmoincs before it starts to kick you around the room. CD from 2003 that was self-released by the man who was in the likes of Alfarmania, Blood Ov Thee Christ, Heid and Survival Unit .

High-fidelity nerds, take notice: you're going to want to sit this one out. It's a CDR and 12" flexi-disc set by Dutch scumnoise madman Peter Zincken, known the world over as Odal (and of course also as a member of Bongoleeros and Fckn'Bstrds), which was recorded in 2006 and came out in 2007 on Zincken's own Produck label. The flexi, "Rotten Weenies Part Two" is pressed onto glue. I ripped it as best as I could, but the needle skipped all over despite my best efforts. Because it's pressed onto glue. Still, I think it sounds pretty good. The CDR, "Tomato Terrorism", opens with a charming ditty called "Who the Fuck is John Wiese?", which is actually a fair question. Who the fuck is that guy, anyway?

La STPO or La Société des Timides à la Parade des Oiseaux (which apparently translates as "The shy peoples society at the parade of the birds") are a long-standing French collective who are kind of like The Residents if they smiled all the time (maybe they do ... it's hard to tell if an eyeball is smiling).

Anyway, this is the first 7" and first LP released in 1986 and 1990 respectively. We have Beta-lactam Ring Records to thank for taking the 2 track masters and reissuing them as a CD in 2002.

Taking drugs to make music to take drugs to ... shouldn't it be obligatory?

That's a rhetorical question.

Hash Jar Tempo were Clint Takeda, Isobel Sollenberger, Joe Culver, John Gibbons, Michael Gibbons (all in Bardo Pond at the time) and Roy Montgomery (who was also in any number of short-lived collaborations / groups).

Macronympha & Grae.com team up and bash on some scrap metal for this 1992 cassette album, reissued by Rodger Stella on Mother Savage Noise Productions in 2008. The short songs all seem to be based around percussion sounds, smooshed and smothered in overdriven analog hiss yuck.

Clinton Williams is one of those rare humans that make us just sit down slack-jawed feeling stunned and unworthy. If you've been here for a while then you already know that we love him to bits. Amidst rumours of this CDr deteriorating over time (pun intended) this had always evaded us, with only fragments turning up every now and again. And then, completely out of the blue, somebody emailed to ask whether we were still looking for this. One of those moments where you just keep staring at the screen thinking that you'll wake up soon and it was all a Bobby Ewing. Well, it certainly wasn't ...

On this missing piece of the jigsaw, Clinton gathered material from Bruce Russell (who he recorded with as Dust/Omit), Paul Toohey (who he recorded with as Omit/K Group), Tim Cornelius (of Sandoz Lab Technicians), Donald Smith (of Surface Of The Earth), John Kennedy (aka Slow Learner) and Dylan Sherwood. Then he turned them into something else entirely ...

A split cassette recorded in 1982, released a year later on Illusion Productions, by two theatrical French weirdos from within the DDAA orbit. Bernard C's side features his lopsided song-like wanderings, some of which make half-hearted nods toward melody and others (or, some within a single track) lose whatever form they started out with and disintegrate into little fragments of filthy iron dust. Cough! Prince Emile, in his/their (?) only recorded appearance, sound like a classical chamber group that fell into a tree chipper then got out the other side and attempted to play viola with the remnants of their shredded stumps. There is a big what-the-heck-is-this-supposed-to-be factor to this tape, so if you think squinting your eyes and glancing around nervously is fun, then prepare for some entertainment. Everybody else, just wait a minute. Your bus will arrive shortly.

In 2009, Lasse Marhaug bestowed a great gift upon the world by re-releasing this set of early tapes (all taken from the original DAT masters) on his own Pica Disk as a ten CD set. Suddenly, it was possible to hear Fumio Kosakai and Toshiji Mikawa in all of their unfettered glory. You should have all heard this by now ... but, just in case ...